Log in

Relevant bibliographies by topics / Brahms's Op

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Brahms's Op'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Brahms's Op.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Brahms's Op"

1

Moseley, Roger. "Reforming Johannes: Brahms, Kreisler Junior and the Piano Trio in B, Op. 8." Journal of the Royal Musical Association 132, no. 2 (2007): 252–305. http://dx.doi.org/10.1093/jrma/fkm004.

Full text

Abstract:

A comparison of the 1854 and 1891 versions of the Piano Trio in B, op. 8, explores how musical allusion can be interpreted to convey Johannes Brahms's attitudes to critics, friends, other composers and his own past. The young Brahms's attachment to E. T. A. Hoffmann's literary alter ego Johannes Kreisler helps explain the extent to which the music of others makes itself heard in the first version of the trio. Changing standards of criticism affected the nature and scope of Brahms's revision, which expunged perceived allusions; the older Brahms's more detached compositional approach shared elements with Heinrich Schenker's analytical perspective. There are also parallels between Brahms's excisions and the surgical innovations of his friend and musical ally Theodor Billroth. Both Brahms and Billroth were engaged with the removal of foreign bodies in order to preserve organic integrity, but traces of others – and of the past – persist throughout the revised trio.

APA, Harvard, Vancouver, ISO, and other styles

2

Horne, William. "Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 241–68. http://dx.doi.org/10.1017/s1479409820000269.

Full text

Abstract:

Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.

APA, Harvard, Vancouver, ISO, and other styles

3

Sumner Lott, Marie. "At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets." Journal of the Royal Musical Association 137, no. 2 (2012): 243–305. http://dx.doi.org/10.1080/02690403.2012.717468.

Full text

Abstract:

AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.

APA, Harvard, Vancouver, ISO, and other styles

4

Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire." Musical Offerings 12, no. 1 (2021): 25–37. http://dx.doi.org/10.15385/jmo.2021.12.1.3.

Full text

Abstract:

The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.

APA, Harvard, Vancouver, ISO, and other styles

5

Karnes, Kevin C. "Another Look at Critical Partisanship in the Viennese fin de sièècle: Schenker's Reviews of Brahms's Vocal Music, 1891-92." 19th-Century Music 26, no. 1 (2002): 73–93. http://dx.doi.org/10.1525/ncm.2002.26.1.73.

Full text

Abstract:

In 1891-92 Heinrich Schenker published a pair of analytical reviews of new vocal collections by Johannes Brahms, the songs, op. 107, and the choral pieces, op.104. In these essays, Schenker sought not only to provide a critique of the works in question, but also to counter a prevailing perception amoung critics that Brahms's late style as a whole is both emotionally tepid and difficult to understand. In order to elucidate the structure and significance of Brahms's music for his readers, Schenker relies on a hermeneutic approach, alternately considering what he characterizes as "objective" and "subjective" modes of description. Schenker's observations are often provocative, and at times reveal his indebtedness to conceptions of musical structure and meaning that are distinctly Wagnerian. In this way, Schenker's reviews are revealing of the complexities not only of his own intellectual history but also of the critical discourse in which he worked, as they call into question a commonly held belief that musicians and writers were sharply divided in their adherence to either Brahm's music or Wagner's aesthetic ideals at the turn of the century. In spite of their provocative nature, Schenker's reviews were received enthusiastically by several prominent members of his community, including some who considered themselves to be partisans in the critical debate. This fact reminds us that, critical politcs aside, there were many musicians and writers during this time who did not believe that Brahm's music was antithetical to Wagner's aesthetics. Rather, they considered both manifestations of a common ideal of musical expressiveness.

APA, Harvard, Vancouver, ISO, and other styles

6

Mutch, Caleb. "Canons and Contestable Cadences in Brahms's Op. 118 No. 4." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 143–52. http://dx.doi.org/10.11116/mta.8.1.7.

Full text

Abstract:

Brahms's F minor Intermezzo, Op. 118 No. 4 prominently employs the fusty compositional technique of strict canon at the octave. Yet Brahms embeds this canon in music that is anything but fusty: as I demonstrate, unexpected features abound in the textures, dissonance treatment, modulatory schemes, and motives with which Brahms girds the canon. The movement's approach to cadences is also remarkable. The presence of a continuous canon automatically precludes all voices coming to rest simultaneously, but Brahms further attenuates the piece's cadences. Most notably, in this movement Brahms avoids traditional authentic-cadence closure entirely, writing not a single cadential progression from a root-position C major chord to a root-position F chord. Instead, I argue that Brahms effects tonal closure by using the augmented sixth chord, which supplants the dominant's usual function. He does this most obviously by repeating the augmented sixth sonority in prominent positions within the ternary form's final A section. I also show that Brahms artfully foreshadows this chord's importance in the initial A section, where he successively tonicizes each member of that harmony.

APA, Harvard, Vancouver, ISO, and other styles

7

Frisch, Walter. "The Snake Bites Its Tail: Cyclic Processes in Brahms's Third String Quartet, op. 67." Journal of Musicology 22, no. 1 (2005): 154–72. http://dx.doi.org/10.1525/jm.2005.22.1.154.

Full text

Abstract:

Brahms's Third String Quartet, op. 67 in Bb Major, represents one of his greatest efforts in cyclical form, but has been neglected in the analytical and critical literature, which has focused on the Third Symphony, the Schicksalslied, and the German Requiem. Brahms's cyclic techniques fall between the procedures of Beethoven, who aims for thematic unity or coherence across a work, and French composers at the end of the 19th century, who use extensive, intricate thematic transformation to bind a piece. Brahms designs the finale of his Bb Quartet, a theme and variations, to evolve toward the reappearance of the main thematic material of the first movement. In the coda of the finale, the themes of the two outer movements are superimposed in ways that reveal their latent kinship.

APA, Harvard, Vancouver, ISO, and other styles

8

Reynolds, Christopher. "Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double." Journal of Musicology 29, no. 2 (2012): 191–238. http://dx.doi.org/10.1525/jm.2012.29.2.191.

Full text

Abstract:

This article presents two new hypotheses about Brahms's Alto Rhapsody, op. 53 (1869), a work Brahms referred to as his “bridal song.” Consulting a range of nineteenth-century sources, I explore the implications of rhapsody as a genre for this composition and argue that they include the classical convention of rhapsody as a poetic cento, or Stoppelgedicht. Centos, poems made up of quotations from earlier works, were often written for important events such as weddings; examples include the Cento nuptialis, which was discussed, among others, by August Wilhelm Ambros in his Geschichte der Musik (1864). Brahms's musical sources include Wagner's Tristan und Isolde and several works based on Goethe's Faust, including, especially, Liszt's Faust–Symphonie. My second hypothesis is that Brahms likely composed his Schicksalslied, op. 54, as a companion piece to the Alto Rhapsody. The two pieces respond to each other through several shared musical and textual correspondences. They deal in paired ways with the division between mortal suffering and otherworldly grace, and they embrace conventions and characters from antiquity. Invoking a concept proposed by Lawrence Kramer, I interpret these works as “expressive doubles” of each other. My investigation suggests that Brahms probably began work on the Rhapsody at least a year earlier than previously thought.

APA, Harvard, Vancouver, ISO, and other styles

9

Beller-McKenna, Daniel. "Imagination and Memory: Inter-movement Thematic Recall in Beethoven and Brahms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 283–308. http://dx.doi.org/10.1017/s1479409820000294.

Full text

Abstract:

Like several of his predecessors, Brahms reintroduces themes from one movement into a later one in several of his instrumental works. Historical circumstances and changing historical consciousness affected a composer's use of thematic recall. For Beethoven (per Elaine Sisman) recalling an earlier theme provided the creative stimulus to move forward to the end of a piece, in accordance with the linear concept of history that defined Beethoven's Enlightenment world view. Brahms's use of inter-movement thematic recall often expresses a more wistful and melancholy view of the past and focuses on the ability of recall to provide a dramatic narrative. In his earliest use of cyclical return, the Op. 5 Piano Sonata (1853), the Andante second movement is echoed and transformed by the ‘Ruckblick’ fourth movement, as Brahms plays on the poetic inscription of the former movement to raise the specter of lost love and mortality. In a more complex web of thematic recall, the op. 78 Violin Sonata (1878) combines allusions to a pre-existing pair of interrelated songs from his Op. 59 with a newly composed, recurring instrumental theme to create a multi-layered, somber character in the piece. Both of those works draw on an earlier, romantic sense of yearning for return. Near the end of his career, however, the quiet emergence and eventual dissipation of opening material at the close of the Op. 115 Clarinet Quintet (1891) reflects Brahms's awareness of his place at the end of an artistic tradition, and thereby conveys a post-Romantic conception of history.

APA, Harvard, Vancouver, ISO, and other styles

10

McClelland, Ryan. "Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos." Articles 26, no. 1 (December 7, 2012): 123–47. http://dx.doi.org/10.7202/1013246ar.

Full text

Abstract:

The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Brahms's Op"

1

Kim, JongKyun. "The fundamental unity in Brahms's Horn trio, op. 40." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3953.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ingraham, Mary I. "Brahms's Rinaldo op.50 : a structural and contextual study." Thesis, University of Nottingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241108.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Chang, Yin-Ju. "A Performer's Guide to Brahms's Piano Sonata No. 2 Op. 2." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337718823.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Yang, Yu-Wen. "Metrical Dissonance in Selected Piano Pieces by Johannes Brahms, with Implications for Performance." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337102281.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

John, James A. "Johannes Brahms's Nänie, op. 82 : a study in context and content, in two volumes /." Digitized version, 2001. http://hdl.handle.net/1802/11182.

Full text

Abstract:

Thesis (D.M.A.)--University of Rochester, 2001.
Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11182

APA, Harvard, Vancouver, ISO, and other styles

6

Lee, Ming-Wen. "Brahms's string quartet in C minor, op. 51, no. 1 : context, analysis and interpretive approaches /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11265.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Yang, Benjamin H. (Benjamin Hoh). "A Study of the Relationship Between Motive and Structure in Brahms's op. 51 String Quartets." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332309/.

Full text

Abstract:

In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

APA, Harvard, Vancouver, ISO, and other styles

8

Arendárik, Matej. "Klavírní kusy op.116 a op.118 Johannesa Brahmse." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2009. http://www.nusl.cz/ntk/nusl-79436.

Full text

Abstract:

Johannes Brahms (May 7, 1833 - April 3, 1897) famous german composer and pianist, was born in Hamburg. He is one of the leading persons of Romantic era. Brahms lived much of his professional life in Vienna, where he was very popular. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven. Brahms wrote for piano solo, orchestral music, chamber music and for voice and chorus. As great pianist, he was the first performer of many of his piano works. He had many friends including the famous composer Robert Schumann and his wife, great pianist Clara Schumann or violinist Joseph Joachim. Brahms was perfectionist. He destroyed many works. His music is firmly rooted in the forms and compositional techniques of the old masters like Bach, Mozart and Beethoven. I focused on his late piano works - Pieces for piano op. 116 and 118.

APA, Harvard, Vancouver, ISO, and other styles

9

Kim, JongKyun. "The Fundamental Unity in Brahm's Horn Trio, Op. 40." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3953/.

Full text

Abstract:

Different sections or movements of a piece are associated with each other and contain the composer essential thought. A vague affinity of mood and a resembling theme or form testifies to the relationship. However, the evidence is insufficient to reveal the unification of the different sections or movements since these are under restraint of external music proofs. In order to figure out the relationship, thus, identical musical substance should be discovered. In the study the substantial evidence, which can be called unity or unification, is mainly discussed. The unity is illustrated with Brahms's Horn Trio, Op.40 that is one of the Brahms's significant works. The unity found in the Horn Trio is based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates the movements as a whole. Further, it reveals the hidden connections to the historical background of the Horn Trio and the philosophy of Brahms for the music. Even though a piece consists of several sections or movements, the entire piece presents homogeneity. The identity of the composer's underlying philosophical thought suffices to discern the musical unity in a piece. Thus, the investigation of unity is one of the critical ways to understand not merely a piece but also the philosophy of a composer. The study will help to enhance the audience's interpretation of music.

APA, Harvard, Vancouver, ISO, and other styles

10

Danijel, Nikolic. "Brahms F-moll sonat op. 120." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2474.

Full text

Abstract:

Jag har valt att skriva om Brahms f-moll-sonat eftersom det är den sortens musik som berör mig mest inombords. Jag fastnade för musik för soloviola redan som liten. Detta verk är ett av de främsta och mest spelade verken för viola vilket gör att det blir en viktig del i violarepertoaren. Brahms levde mellan 1833 och 1897, förhållandena var annorlunda då jämfört med nu vilket medför att stycket lät annorlunda då mot vad det gör nu på moderna instrument och strängar. Jag har försökt efterforska hur nära man kan komma originaluppförandet och dåtidens klangideal och teknik. Detta verk skrevs först för klarinett men strax därefter gjorde Brahms en alternativ violaversion och jag har tittat på några skillnader mellan versionerna. Jag har också jämfört olika moderna utgåvor och provat att spela på sensträngar för att få en känsla av hur det egentligen kan ha känts och låtit med mer tidstroget material än moderna strängar.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Brahms's Op"

1

Mahlert, Ulrich. Johannes Brahms, Klavierkonzert B-Dur op. 38. München: Fink, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Mäckelmann, Michael. Johannes Brahms, IV. Symphonie e-Moll op. 98. München: W. Fink, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Breuning, Franziska. Johannes Brahms, Violinkonzert in D-Dur op. 77. Altenmedingen: Hildegard-Junker-Verlag, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Heinemann, Michael. Johannes Brahms, Ein deutsches Requiem op. 45: Eine Einführung. Göttingen: Hainholz, 2004.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Die vier ernsten Gesänge op. 121: Vokale und instrumentale Gestaltungsprinzipien im Werk von Johannes Brahms. Frankfurt am Main: P. Lang, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Heinemann, Michael. Johannes Brahms, Ein deutsches Requiem nach Worten der Heiligen Schrift, op. 45: Eine Einführung. Göttingen: Hainholz, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Gray, Edwin John. Analytical approaches to Brahms, using the Clarinet quintet op 115 as a case study. [s.l: The Author], 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Perotti, Sandro. Johannes Brahms, Variazioni e fuga su un tema di Händel per pianoforte, op. 24: Analisi e orchestrazione. Treviso: Ass. mus. "Ensemble '900,", 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Brahms Op. 118. Warner Bros Pubns, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Brahms Klavierstucke Op 119. Warner Bros Pubns, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Brahms's Op"

1

Palfy, Cora S. "Social cues through rhythm and meter in Johannes Brahms's Sieben Fantasien Op. 116, No. 7: Capriccio." In Musical Agency and the Social Listener, 81–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003169710-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Heinemann, Michael. "Ein deutsches Requiem op. 45." In Brahms Handbuch, 268–78. Stuttgart: J.B. Metzler, 2009. http://dx.doi.org/10.1007/978-3-476-05220-9_17.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Schenker, Heinrich. "Brahms’s A Cappella Choral Pieces, op. 104." In Brahms and His World, edited by Walter Frisch and Kevin C. Karnes, 253–66. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400833627.253.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kalbeck, Max. "Brahms’s Four Serious Songs, op. 121 (1914)." In Brahms and His World, edited by Walter Frisch and Kevin C. Karnes, 267–86. Princeton: Princeton University Press, 2009. http://dx.doi.org/10.1515/9781400833627.267.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Eich, Katrin. "Frühe Proben und Aufführungen als Kontext für die Bewertung der Partitur- und Stimmenquellen bei Johannes Brahms’ Streichsextett op. 18." In Aufführung und Edition, edited by Thomas Betzwieser and Markus Schneider, 143–52. Berlin, Boston: De Gruyter, 2020. http://dx.doi.org/10.1515/9783110639261-012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Lester, Joel. "It Sounds like Brahms." In Brahms's Violin Sonatas, 3–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0001.

Full text

Abstract:

Chapter 1 discusses the balance of classicism and romanticism as artistic and expressive underpinnings of Brahms’s style. Brahms was in many ways a composer for whom the past—even the distant past—was still very much alive. Yet he was remarkably innovative. He often used Classical-Era forms, but he adapted them to his expressive ends. He used harmonic progressions identical to those used in similar circumstances by composers of the Classical Era, but also used harmonies as adventurously as Wagner or Liszt. In terms of texture and of rhythm and meter, he was, if anything, more adventurous than many of his contemporaries. The chapter offers a detailed analysis of harmony, dissonance, melody, melodic evolution, texture, rhythm and meter, counterpoint, and developing variation in a single Brahms phrase (from the second theme of the first movement of the A-major Violin Sonata, op. 100). Brahms’s phrase is compared to and differentiated from a similar phrase opening the second theme in Beethoven’s Violin Sonata in A, op. 30, no. 2.

APA, Harvard, Vancouver, ISO, and other styles

7

Rink, John. "Playing in time: rhythm, metre and tempo in Brahms's Fantasien Op. 116." In The Practice of Performance, 254–82. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9780511552366.013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

McManus, Laurie. "The Temptation of Opera." In Brahms in the Priesthood of Art, 127–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190083274.003.0005.

Full text

Abstract:

This chapter explores opera—established as the antithesis of musical priesthood—as a site of debate over musical sensuality including the gendered discourse on opera and the critique of purity in those composers who, in Wagner’s words, “failed” to write opera with their “chaste and innocent hands.” A generation of revolutionary music critics, including Rudolf Benfey and Ludwig Eckardt, applied these Wagnerian values to Brahms with negative results, depicting purity as his weakest characteristic. Brahms’s own potential libretti and styles of opera in the 1860s and 1870s seem to explore alternatives to the Wagnerian Gesamtkunstwerk, from genres such as the oratorio to Singspiel, and topics including Carlo Gozzi’s eighteenth-century fairy-tale plays. Two of Brahms’s works from this period, the Op. 57 Daumer lieder and Op. 50 Rinaldo, contain dramatic and erotic elements that inspired some contemporaries to hope Brahms would take the next step toward an opera.

APA, Harvard, Vancouver, ISO, and other styles

9

Milsom, David, and Jonathan Gooing. "Allegro appassionato 7.14." In Brahms: Viola Sonatas Op. 120, Violin Sonata Op. 108, 1. University of Huddersfield Press, 2020. http://dx.doi.org/10.5920/brahms.01.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Milsom, David, and Jonathan Gooing. "Andante un poco Adagio 4.39." In Brahms: Viola Sonatas Op. 120, Violin Sonata Op. 108, 2. University of Huddersfield Press, 2020. http://dx.doi.org/10.5920/brahms.02.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!